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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

2:1 footage --> compressor ---> Avid

G

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Im trying to figure out how to transcode 18 hours of footage to an Avid coded for offline in media composer. We also need to maintain sync sound recorded to camera so my only logical choice is a batch in compressor.

However, im having trouble figuring out what the best offline format is for cutting in Avid and how to get my 4k 2:1 source footage to translate over with the proper aspect ratio.

In compressor, under the scaling options, there is no 'preserve aspect ratio' checkbox like there normally is when exporting a single clip in quicktime.

So my questions:

1. What format should I use for offlining in Avid (we were thinking AvidDV)
2. How do I setup the scaling in compressor to preserve the source 2:1 aspect ratio and bake in the top and bottom blanking?

I can manually add the blanking in compressor but how many pixels should be added to the top and bottom?

My math tells me that If I want to preserve a 2:1 aspect ratio within a NTSC DV 4:3 frame then I would need 58 pixels on the top and bottom. Is this right? And if I wanted to preserve a 2:1 aspect ratio within a square pixel 16:9 frame, I would need to add 40 pixels to the top and bottom?

Im hoping I got this right!! Thanks!
 
Wait, I lied. I think its an 80px pad on the top and bottom to maintain the 2:1 aspect ratio within the 4:3 frame.... Anyone?
 
14:1 is a well known and loved standard definition resolution. Looks as good as DV and uses 2.5x less storage compared to DV25 @24p.

Michael
 
We have but we don't want to tie up the Avids for importing. It might be the easiest rout but using compressor should work just as well. I think I've got my math straightened out but Id love to get confirmation on this from anyone else before proceeding.

The problem with compressor is we can't get proper TC burn-in because the burn-in does not show up in the blanking area and there is no way to manually adjust its position. But compared to any other option, compressor is significantly faster and with the amount of footage we have and time constraints it seems to be the only sensible way.

Not to mention all the headaches of dealing wit Redcine.
 
MichaelP said:
14:1 is a well known and loved standard definition resolution. Looks as good as DV and uses 2.5x less storage compared to DV25 @24p.

Michael
Click to expand...

Thanks Michael, we'll test this out tomorrow.
 
Hi Michael, we did some tests with AvidDV @ 23.98 fps. The editing house is telling me that even though they have setup a 23.98 project, their project TC is still running at 30. Does this make sense to you? We are Final Cut guys and don't really know much about Avid.
 
Yes, because you are in a NTSC project... Avid will keep track of both 30 and 24 (as well as 25, 30 with/without pulldown) all at the same time. One does not have to choose which timecode to track.

Are you using MetaCheater for metadata? Did you choose NTSC? This will convert the 24TC to a 30TC with the assumption of 2:3 pulldown and "A" frame reference on 0 and 5 (like a film to tape transfer). Once in Avid - highlight the entire START column and do a command D. A new window pops up - select 24TC from the list. This will convert the 30fps back to 24 as you have on your master. When creating EDL's, use the 24TC as source.

File based projects work best in their native format and SD does not have native 24fps as per SMPTE. It is always a 29,97fps, interlace format where 24fps is only carried through with trick of pulldown, etc. Avid is aware of this and allows both to be tracked.

Michael
 
MichaelP said:
Yes, because you are in a NTSC project... Avid will keep track of both 30 and 24 (as well as 25, 30 with/without pulldown) all at the same time. One does not have to choose which timecode to track.

Are you using MetaCheater for metadata? Did you choose NTSC? This will convert the 24TC to a 30TC with the assumption of 2:3 pulldown and "A" frame reference on 0 and 5 (like a film to tape transfer). Once in Avid - highlight the entire START column and do a command D. A new window pops up - select 24TC from the list. This will convert the 30fps back to 24 as you have on your master. When creating EDL's, use the 24TC as source.

File based projects work best in their native format and SD does not have native 24fps as per SMPTE. It is always a 29,97fps, interlace format where 24fps is only carried through with trick of pulldown, etc. Avid is aware of this and allows both to be tracked.

Michael
Click to expand...

Invaluable information Michael, thanks. Yes we did use NTSC in metacheater although I had the 'Avid Project Timecode Adjust' set to *off.* Is it still converting the 24TC to 30TC because it was set to NTSC?

We'll try what you suggested.

Thanks,
Gary
 
I beleive to need to set the NTSC to convert in order for the above process to work for timecode accuracy.

Michael
 
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